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I
n August 1999 began a new era in the development of the
Estonian Academy of Music (EAM) – the only Estonian higher
music school, active for 80 years, started a new academic year
in a new building. This outward novelty has outlined also great
changes in Estonian music education. At the request of the maga-
zine, MARJE LOHUARU, the EAM vice rector for international
relations will discuss those at length.

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Estonian higher music education has always been international to a
greater or lesser extent. In the beginning of 20th century, our very
first music professors were educated foremost in St Petersburg, but
also in Moscow, Berlin, Dresden, London and other European music
metropolises. At the time of founding, the international competi-
tiveness of the educational institution (then Tallinn Conservatoire)
was one of the most significant indicators of its performance level.
For instance, already in 1926, press covered a study trip of the
Tallinn Conservatoire professors, the purpose of which was “to get
acquainted with teaching methods in the best conservatoires in the
countries of old music culture and to take part in the most relevant
music conferences and festivals” (M. Topmann. Mõnda möödunust,
1999, p. 21). It is true that during the fifty years of Soviet regime
the communication of the institution with the Western Europe
was limited, but it did not influence dramatically the professional
level of music education, since there was an opportunity (albeit not
for all) to get the highest possible education at the Moscow or St
Petersburg Conservatoires. It could be said that Estonian musicians

<>
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have always been open to international careers regardless of chang-
ing times and conditions. Without analysing too deeply the then
step-by-step activation of international relations we can say that in
general, by 1990s, many Estonian musicians had personal contacts
with the rest of the world. However, an institutional outlet neces-
sary for the development of the academy was still missing.
The last decade is characterized by an almost explosive growth
of possibilities for international relations. At this, the role of indi-
viduals in the process has been diminishing, while the financial and
intellectual aid of numerous international organisations interested
in collaboration is growing. Thus we can state with gratification
that the opportunities for international relations at the EAM have
never before been so extensive. After Estonia regained indepen-
dence, the EAM has developed from being once out-of-bounds-for-
foreigners educational institution into an active and equal partner
on the international higher education scene.
Naturally this progress is linked with regaining statehood. In this
context it is quite surprising that the same kind of processes are tak-
ing place in the European Union where the educational system was
allowed to develop undisturbed since World War II. Developments
are surprisingly similar. Emphasis is on the role of academic compe-
tence shared between universities, free movement of teachers and
students, international division of labour. All this values European
higher music education and Estonia as member state has a say in
shaping the common European educational space.

*OUFSOBUJPOBMJ[BUJPO
Last years have introduced a lot of new terminology. Mobility, inter-
nationalization – what exactly does it mean? What determines the
level of internationalization for an educational institution – is it the
number of foreign students or guest lecturers or perhaps the overall
number of contacts.
We consider the shaping of international study environment
at the EAM our top priority. Our goal is to make sure that young
Estonian musicians have equal opportunities with those studying
abroad to enjoy the benefits of acquiring higher education in an
international environment. At our academy this means international

<>
curricula and student population, hosting lecturers from abroad
and other similar activities. International relations are not aimed at
top musicians exclusively, but at everybody: a music student should
have the possibility to define him/herself not only in the context
of Estonian music education but also of the entire world. This is
why the EAM international relations unit offers opportunities for
challenges. Studying at another university provides an invaluable
experience and adds value to a musician on an open job market.
Our students studying abroad are assisted by several study grant
programmes, for instance, there are special grants from the London
Guildhall School of Music and Drama, Holland Music Sessions,
Yamaha, Hansapank, Hypo Vereinsbank and also from private indi-
viduals. It is important to develop cooperation between the public
and private sectors in order to secure additional financial means for
continuing process of internationalization. EAM also participates
in governmental programmes, such as Kristjan Jaak, DAAD and
CIMO.
The EAM employs outstanding lecturers from other European
music educational institutions. At the academy have worked and
are still working on a long-term contract basis such distinguished
foreign lecturers as Virgilijus Noreika (Lithuania), Jaakko Ryhänen
(Finland), Thomas Wiedenhofer (Germany) and many others. The
EAM has also long traditions in hosting Fulbright scholars: Anne
Kilstoffe, Anthony Branker and Dennis Rich, to name a few.

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Universities have different historical and cultural backgrounds in
shaping the international relations. The last decade has been a time
of new opportunities and quick developments for our academy.
Isolated contacts have grown into strategically important large-
scale projects and multiple forms of collaboration have widened
our choices – international relations have become a natural part of
studying. We are now an internationally acknowledged cooperation
partner and have joined the other European educational institutions
in international programmes, such as PHARE, Tempus, Socrates/
Erasmus, Culture 2000, etc. This has allowed us to develop an inter-
national dimension in curricula, creative and scientific activities and

<>
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brought the EAM on the map also far outside Europe.

The EAM is a member of four international organisations: the
Association of European Conservatoires (AEC), European League
of the Institutes of Arts (ELIA), Association of Baltic Academies of
Music (ABAM) and International Association of Schools of Jazz. In
three of those the EAM has been selected a board member: rector
Peep Lassmann is a member of the AEC board and vice president
of the ABAM, since last year vice rector Marje Lohuaru is on the
board of the ELIA. The participation of the EAM in the governing
structures of these important organisations allows the academy to
have a say in the strategic questions of the development plans for

<>
European higher education in arts. In addition, the academy takes
part in three international networks – the Culture Policy Education
Group, the European Network of Cultural Administration Training
Centres (ENCATC) and the International Network of Cooperation
in Arts.
At this I would like to give a short overview of some EU pro-
grammes in which the EAM is participating or has participated.
Within the framework of Tempus, in 1994–2001 the academy
prepared five multiannual projects supporting the structural devel-
opment of the EAM, three of these as project leader. Tempus is
continuing, but starting this year the role of the EAM has changed
– now, as a member state of the EU, we are no longer on the receiv-
ing but supporting end.
The Socrates programme is aimed at increasing mobility of
students and lecturers. At this point the academy has signed agree-
ments with 45 European music educational institutions. This year,
30 of our students are studying abroad as exchange students within
the Socrates framework. The number of the EU students studying at
the EAM is somewhat lesser, but it is balanced by 20 students from
China. We have hosted foreign students also within the framework
of Kindred Peoples and State Expatriates Programmes and also from
far away countries, such as Japan and Mexico. The exchange of
lecturers is also evening out. This year, 20 foreign lecturers conduct
the master courses at the academy and also the same number of our
lecturers give master courses abroad. Also the EAM Higher Theatre
School is actively participating in the exchange of students and
lecturers. The financing principle of the Socrates programme is that
the EAM covers the costs of Estonian students and lecturers abroad
(mostly with the EU means) and the university sending students or
lecturers to the EAM will cover their costs.
Starting this year, the academy is taking part in two Culture
2000 projects. The first one researches the structural development
of music sphere in European countries and the second one involves
the participation of young musicians and our lecturers in interna-
tional orchestra projects, festivals, competitions and master courses.
For example, our young lecturer Helena Tulve conducted a compo-
sition master course in Greece, yet our composition students Age
Hirv and Liis Jürgens took part in the master courses in Greece and
Italy. Trio Fratres gave a concert in Rome and our students partici-

<>
pated in the grand tour of the European Youth Chamber Orchestra,
which reached also Tallinn.
In addition, the EAM students play significant role also in other
international orchestra projects, such as the European Union Youth
Orchestra, German-Scandinavian Youth Philharmonic Orchestra,
German-French orchestra session in Bayreuth, ABAM orchestra
seminar in Odense, etc.
International communication has been crucial in starting new
specialities and creating structures. Tempus and the Cultural Grant
Aid of the Government Japan have supported the development
of electronic music and sound engineering speciality; UNESCO,
PHARE and Leonardo have assisted in launching the cultural
management master programme; the US Fulbright Programme and
Socrates have helped starting the Jazz Department. In August 2005,
the first ever ABAM international summer courses for students and
lecturers of the music academies in the Baltic Sea countries took
place in Tallinn, thanks to the Socrates project “Crossing borders in
interpretation of classical music and jazz”.
In sum I would like to emphasize once more that nowadays the
EAM participates in the European higher education sphere as an
equal partner, having good reputation and respected status. This
was well proven last year at the international communication con-
ference of the Association of European Conservatoires, organised at
the EAM. In addition to 130 European representatives, participants
came also from South-Africa, Canada, Russia, etc. Next to global
developments, regional contacts, collaboration networks within the
Baltic Sea countries and relations with neighbouring countries are
becoming more and more important. For example, our experience
comes handy in the European collaboration projects with so-called
third countries; we have good chance to succeed in partnerships
with Russia.

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According to the development plan of the EAM for 2005–2009
and based on the EAM European Policy Statement for 2003–2007,
presented to the European Commission, we envisage the continu-
ing internationalization of the EAM academic environment in the

<>
context of open Europe. We consider it necessary to participate
more actively in the EU cooperation projects for developing joint
curricula (incl. interdisciplinary), which would help us to make the
EAM more attractive for international students as well as lecturers.
In the near future, the EAM will take part in following multian-
nual international projects:
• The development and deployment of new innovative com-
position methods (the EU Leonardo project in collaboration with
IRCAM) will let our students and lecturers work at the world’s
leading contemporary music centre IRCAM in Paris.
• Continuation of the Culture 2000 programme Musical
Europe: participation of students from different departments in
chamber orchestra sessions and master courses. The project also
includes the EAM students giving concerts and our lecturers con-
ducting master courses.
• Development of an interdisciplinary master programme and
establishing a multimedia centre (collaboration project between
the EU and the US; partners in the EU are Trieste Conservatoire,
Trinity College, Helsinki Theatre Academy and in US Washington
and Santa Barbara Universities). This project is aimed at the devel-
opment of audiovisual and multimedia arts. The media centre will
unite real art with virtual arts, music and theatre and create techni-
cal means for performing such an art.
• Development of international summer courses “Crossing
borders in interpretation of classical music and jazz” organised by
music higher schools in Baltic Sea countries into specialized curricu-
lum. Several master courses for different specialities, improvisation
courses and jam sessions take place at the EAM, in the latter two the
academy is also project leader. Participants are students and lectur-
ers from the Baltic Sea country music academies.
• We plan to join the EU Socrates project “School Music in
European Perspective”.
What will be the role of Estonian music and theatre education
in European educational space depends greatly on us, on how much
initiative we will show, how flexible and determined we are in
achieving our goals. Development is fast and in order to have a say
in world’s music and theatre higher education trends we must have
clear objectives and keep up with the times. Our experiences will
allow us to make the best choices.

<>
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T
he decision to start a new, mainly Estonian music festival
was made in 1979. Professor Eino Tamberg formulated the
goals of the festival as follows: “I think the festival will serve
two purposes. First, we would like to present an overview of the
Estonian music to our audience and guests. Second, when we [as
composers – ML] have heard our music performed live, we our-
selves will have a better overview of the positive sides as well as
shortcomings of our creations.”
Although the Music Days have changed and developed through-
out the years, the works of Estonian composers remain the focal
point of the festival. With close to 30 premieres each year it has
been the best forum for overview of Estonian music, where next to
works of mature masters, such as Pärt, Tüür, Tamberg, Eespere and
others can be heard also creations of students and young composers
still in high school. This is the reason why the festival is still ageless

<>
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and exciting today, too.

Under composers Timo Steiner and Ülo Krigul, the festival’s
artistic directors since 2001, the Estonian Music Days (EMP) has
become more open and international. Now it is a tradition to pres-
ent also music by foreign composers next to Estonian new works.
During EMP 2005, in addition to Estonian music the works by
Thomas Larcher, Laurence Crane, Vladimir Tarnopolsky, Franco
Donatoni, Henri Pousseur, Iannis Xenakis and Salvatore Sciarrino
were heard.
Lately, one of the essential trends has been an invitation to for-
eign musicians to come and perform Estonian music, which they
often see from a new and fresh angle. The most interesting guests

<>
in the last couple of years have been the Silesian String Quartet
(Poland), Crash Ensemble (Ireland), vocal ensemble Musica treize
and super virtuoso pianist Jean-Philippe Guillo (France). This
spring the Scottish youth orchestra Camerata Scotland performed
clarinet concerto “In Dies” by René Eespere and the world-famous
Rashèr Saxophone Quartet premiered “in quattro quatri” by Galina
Grigoryeva.
Yet another international aspect is added to the festival by the
tradition started in 2003: a triennial International Lepo Sumera
Composition Contest for Young Composers. Last contest saw
almost 100 scores from 27 countries and, according to the jury,
the level of participants was very high. The honour of Estonian
composers was held high by Tõnu Kõrvits whose work “Eldorado”
won the 3rd prize. The 1st prize went to Alberto Colla and 2nd to
Naomi Sekiya.
The festival has attracted new audiences by being open and com-
municating with other musical styles and trends next to classical in
form of new works for folk music ensemble (concert by ensemble
“Wirbel” at Kloostriait), DJs mixing classical music (works by
Jaan Rääts and Raimo Kangro as seen by Raul Saaremets and Sten
Saluveer) and concert co-hosted with the festival “Jazzkaar” where
the Estonian Dream Big Band performed pieces by Ülo Krigul,
Mirjam Tally and Tauno Aints.
Also in 2005 there were numerous events carrying the idea of
openness. At the popular shopping centre “Viru Keskus” there was
performed a short ballet “Kaubamaja” (Department Store) written
by Jaan Koha in 1963, on the promenade street in the Old Town
the students of the Estonian Academy of Music (EAM) were play-
ing Estonian music as street musicians, the national television made
a special program series about the Estonian composers “Live notes
live”, which people gathered to watch late nights at the festival
club. Composers spoke about their music also at EAM, when dur-
ing the four-hour Mammoth concert they gave blitz interviews at
the improvised television studio, hopefully providing the audience
with a little insight into modern music. Estonian composers were
busy during the entire festival week, participating in the morning
programme of the national television as cooks and florists. So it may
be said that the Estonian professional composition was constantly
on the map and there were people participating in the festival who

<>
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René Eespere (1953) In dies for clarinet and chamber orchestra
Galina Grigoryeva (1962) in quattro quarti for saxophone quartet
Age Hirv (1973) Detail for chamber choir; Songuine for soprano saxo-
phone and piano
Lauri Jõeleht (1974) Concordia for 2 guitars
Liis Jürgens (1983) Unelaul for chamber choir
Pille Kangur(1966) Ka üleval on külm for six voices and electronics
Tõnis Kaumann (1971) Meditation IV for chamber choir; Mi lagnerò
tacendo for soprano, mezzo soprano, alto, tenor and bass
Mihkel Kerem (1981) Viis päeva detsembris for saxophone and piano
Tatjana Kozlova (1977) Circles for flute, clarinet, violin, cello, percus-
sion and piano; Converting into steam for three saxophones and double
bass
Ülo Krigul (1978) Ajakeevitaja for electric guitar
Aare Kruusimäe (1972) Laava laul for percussion duo
Margo Kõlar (1961) Loojang for piano and string orchestra
Kristjan Kõrver (1976) Co for percussion and string orchestra
Tõnu Kõrvits (1969) …in these gardens for alto saxophone and string
orchestra
Märt-Matis Lill (1975) Kurb rõõm for three voices, two actors and
electronics
Malle Maltis (1977) Jäälilled for oboe, two violins, cello and double
bass
Arvo Pärt (1935) Da pacem Domine for mixed choir and orchestra
Jaan Rääts (1932) Pala for two trumpets
Mart Siimer (1967) Hetk voolavast ajakangast for six voices
Timo Steiner (1976) Aga pilved tulevad vahele, ei näe täpselt... for violin
and chamber orchestra
Eino Tamberg (1930) Dialoogid for cello and piano; Armastuse antoloo-
gia for soprano, female voice choir and instrumental ensemble
Toivo Tulev (1958) Leave Alas, This Tormenting for percussion trio,
soprano and phonogram
Mari Vihmand (1967) O edelestes Grün for flute, clarinet, violin, cello,
percussion and piano; Labürint for two pianos
Peeter Vähi (1955) Wrong Username Or Password for soprano saxophone
and piano

<>
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do not come often to concert halls.

Another opportunity for widening audiences was the introduc-
tion of Estonian music to children. Since 2003, the festival program
has reserved spots for special children events. The Estonian Music
Information Centre has been a great partner and organised series of
concerts at schools in Tallinn, where children studying at the several

<>
Tallinn music schools performed next to Estonian modern music
also Estonian classics.
A recent new tradition is the composer of the festival, which
unites otherwise motley programmes. To a composer this title
means a special auteur concert and performances throughout the
entire festival. In 2004, Toivo Tulev had his auteur concert at the
church of Niguliste (St. Nicholas church), where Olavi Elts conduct-
ed the NYYD Ensemble, and presentation of his CD “Be Lost in the
Call” made by the Estonian Radio. In 2005, the Estonian National
Symphony Orchestra under the baton of Eri Klas performed legend-
ary works “Pro et contra” and “Credo” by Arvo Pärt. At the festival
were also heard his “Lamentate” and “Da pacem Domine”, the lat-
ter as a premiere of a new version for choir and large orchestra.
The fact that the 26 years old festival is still viable is demonstrated
on the one hand by growing number of events and continuous inter-
est of audiences. On the other hand, the EMP is among the largest
co-operation festivals in Estonia. The long-term loyal partners have
been state Concert Institute Eesti Kontsert, the largest national con-
cert-organiser; the Estonian National Opera, the Estonian National
Symphony Orchestra, Tallinn Philharmonic Society, the Estonian
Philharmonic Chamber Choir and many others. As a token of trust
towards the festival organised by the Estonian Composers’ Union,
this year the decision was made to support the festival straight from
the state budget. Other major supporters have traditionally been the
Estonian Authors’ Union and the Estonian National Endowment.
The composer of the festival EMP 2006 (March 24 – April 1)
is Helena Tulve, one of the brilliant young Estonian composers,
whose opera “It Is Getting So Dark” will be performed by the
Estonian Philharmonic Chamber Choir. The final concert of the
2nd International Lepo Sumera Composition Contest for Young
Composers will take place during the same festival week and the
international jury consisting of Régis Campo (composer, France),
Anders Hilborg (composer, Sweden), Helena Tulve (composer,
Estonia), Rolf Wallin (composer, Norway), Toomas Vavilov (con-
ductor, Estonia) will select the winners. Ensemble Aleph from
France will be the festival’s guest performer and premiere also an
Estonian work. And so the coming spring promises yet another
interesting and varied festival.

<>
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Rudolf Tobias (1873-1918)
Artur Kapp (1878-1952)
Mart Saar (1882-1952)
Peeter Süda (1883-1920)
Artur Lemba (1885-1963)
Heino Eller (1887-1970)
Cyrillus Kreek (1889-1962)
Eduard Oja (1905-1950)
Eduard Tubin (1905-1982)
Eugen Kapp (1908-1996)
Gustav Ernesaks (1908-1993)
Edgar Arro (1911-1978)
Villem Kapp (1913-1964)
Heimar Ilves (1918-2002)
Ester Mägi (b. 1922)
Valter Ojakäär (b. 1923)
Boris Parsadanjan (1925-1997)
Uno Naissoo (1928-1980)
Arne Oit (1928-1975)
Jaan Koha (1929-1993)
Heino Jürisalu (1930-1991)
Eino Tamberg (b. 1930)
Veljo Tormis (b. 1930)
Anti Marguste (b. 1931)
Jaan Rääts (b. 1932)
Arvo Pärt (b. 1935)
Kuldar Sink (1942-1995)
Alo Põldmäe (b. 1945)
Mati Kuulberg (1947-2001)
<>
Raimo Kangro (1949-2001)
Lepo Sumera (1950-2000)
Olav Ehala (b. 1950)
René Eespere (b. 1953)
Peeter Vähi (b. 1955)
Toivo Tulev (b. 1958)
Erkki-Sven Tüür (b. 1959)
Urmas Sisask (b. 1960)
Galina Grigoryeva (b. 1962)
Mari Vihmand (b. 1967)
Tõnu Kõrvits (b. 1969)
Jüri Reinvere (b. 1971)
Tõnis Kaumann (b. 1971)
Helena Tulve (b. 1972)
Märt-Matis Lill (b. 1975)
Timo Steiner (b. 1976)
Tatjana Kozlova (b. 1977)
Ülo Krigul (b. 1978)
This list was complited on the
basis of data provided by the
Estonian Compesers’ Union
(www.helilooja.ee) and the
Estonian Music Information
Centre (www.emic.ee). It is
based on works that have been
most performed and sparked
the most interest in Estonia and
around the world.
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“O
ur time has quick rhythms, edgy passages, enormous
amounts of information, technology. On the other
hand, it has a strong need to balance this jumpiness
and this need manifests itself in a very slow movement, in search for
organics.” Helena Tulve has also said that to a certain extent, music
is a hideaway. Helena Tulve’s music concentrates, fills the space,
and creates a crystalline, hi-tech world. The key words to Helena’s
inner and outer being are concentration, tension, steely strength,
instantly reacting thinking and sensitivity. Helena is Estonian-like
and foreign. Her music encompasses the oriental focus on slowness
and the sense of infinity, French airyness and capricious rhythms.
Helena Tulve has been so far the only student of Erkki-Sven
Tüür and also studied with Jacques Charpentier in Paris. Numerous
premieres of her works that became well known were followed by
the greatest acknowledgment so far: orchestral piece “Sula” [Thaw]
won the 1st prize at the international composers’ rostrum in 2004.
Then the composer received the award of the Estonian Music
Council, Republic of Estonia Culture Award and became “Musician
of the Year” of the Estonian Radio. Helena Tulve wrote her latest
and largest composition, chamber opera “It Is Getting So Dark”

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being the composer in residence at the Estonian Philharmonic
Chamber Choir. Her auteur CD album “Sula” was published in
2005. Helena Tulve works at the Estonian Academy of Music as
lecturer of composition.

All creation is probably continuous striving for ideal. What is your

ideal in music?
I’m attracted to flow of music, its elusiveness. The idea that music is
like water. I love slow music. Slowness is a counterbalance to rush
and clutter of details; slowness enables the better sense of processes
and seeing things that may be overlooked in rush, even if its care-
ful rush. At present it is still somehow very much on the agenda
for me. I’m reading Sten Nadolny’s “Discovery of Slowness”. The
book makes me see things in a different perspective. Coming back
to ideals, the slowness is not exactly an ideal, but I’m attracted to
it, especially when it coincides with concentration.

Your music often focuses on a carefully chosen detail.

Often it is very difficult for me to listen to quick music with a lot
of brilliant details. They slip by me at an incredible speed and I feel
sorry that I was unable to enjoy them. I think it is squander.

Your music is generally crystal clear and transparent. Often it has

been emphasized how important the sound/tone-colour is in your
music.
Actually I have never thought of tone-colour as a goal per se. It
has evolved through other things. Tone-colour comes through the
choice of instruments and images. It is important to play with space
and density. I imagine what kind of space the tone-colour could cre-
ate, whether an open, round space or densely filled with a texture.

Whence does the impulse to compose come from?

At first there is of course a so-called technical impulse, the commis-
sion, which makes me start the search. It depends greatly also on
the kind of instruments I will write music for. What follows is kind
of an inner process, a design of inner space. In “Sula”, for example,
all those processes were really clear.

Do you have the ready title in the beginning or do you name your

<>
work later?
Usually I have the title ready. Sometimes it also happens that I finish
the piece and then change its name. But the title should be tied to
the image underlying the composition. An image or space or phe-
nomenon or vision.

Nowadays the titles are rather poetic hints. Does the music also
reflect some link between different art forms?
Compared to other art forms, music is a bit more abstract, thanks
to its evaporating material. Position of music differs from that of,
say, art or film. In music, the more general characteristic features,
power, lyricism, poetry, play greater role. But still, music has com-
mon associations with other art forms. Build-up of the form in time
in film or theatre may be very similar to that in music.

What about the social side of music, does it have any influence on
society?
Because music is elusive, nowadays its direct social subtext is quite
inconspicuous. In certain cases it may not be so, but then the social
side of music will not manifest itself in music, but rather in trap-
pings/paraphernalia.

How would you transfer your soundscape into colours?

Perhaps there is one bright line that would stand out. For me, con-
trasts are not inherent. In case of contrasts or opposites I will rather
move onto trajectory between the two. Usually I don’t put them
very clearly side to side.

What has impressed you the most or deeply influenced you in

music?
There has been an enormous lot of interesting, but for me, some
things are more than simply interesting. One of the first awe-inspir-
ers was the plainchant during the music history lessons by Toomas
Siitan. I couldn’t know then that there’ll be time when I’ll take it up.
In fact, for me the plainchant is my musical mother tongue.
Later, everything we heard at Erkki-Sven Tüür’s was a great dis-
covery. One of the composers to astonish me was Scelsi, but among
the first and continuous favourites is Berio. In his music one can
hear the influence of traditional music. Water was very important to

<>
the composer; perhaps it explains the gurgle in his music. I feel very
close to music of Claude Vivier and the latest works of Grisey.
Discovery of world music is important to me – the Lebanese
music, sufi music. The process is still continuing. I can’t claim to
have a somewhat scientific interest towards this kind of music, but
therein have crystallized some characteristics that speak to me very
loudly.

What kind of means of expression do you prefer?

I relate to heterophony, to seemingly arbitrary variances in similar
motion – very characteristic means also in traditional music. And
melody is very important to me, not so much the one voice, but the
melody in wider sense, melody as principle or linear current. The
current must carry energy and expression; everything else must be
in its service. Energy processes work by restraining and releasing
tensions, as if stretching the elastic band. Following the example
of plainchant, I tend to oppose clear-cut metric structure. Usually I
avoid emphasizing the first beat.
I try to link the musical material according to so-called chain
principle, by finding spots where two ideas link. I do the same in
joining the tone-colours of instruments. In two tone-colours, there
are always some similar and some different characteristics and it is
always possible to find such a spot where transition from timbre to
another is feasible. I pay attention to such spots, so as they wouldn’t
come about simply by luck. This I have learnt by experience.

Should music be approached emotionally or should it be more like

intensive thinking process?
One can lean towards one or the other point of view, but the listen-
ing tends to be rather an emotional activity. Because the musical
material is not spread in front of the listener at once, the process of
listening requires concentration. Therefore the listening may also be
analytical. For me it’s most important to listen with the heart. But I
don’t think that a very intellectual process cannot also be emotional
at the same time. So to sum it up: rational emotionality, the union
of the two.

In your opinion, what place does the contemporary music have

nowadays?

<>
Classical music is certainly particular. The division in the pyramid
of interests and needs is very clear. There are people with no inter-
est in classical music and they are the majority. There’s no point in
forcing them and the composer cannot oblige them to great lengths
and still be honest with oneself. Wide popularity is not a goal per
se for me. People can be educated to become music-friendly and it’s
important. Those who are curious and open will come into contact
with the world of classical music at one point or another.
I think that in some sense the new music is better suited to the
rhythm of our era than the music of the past. In order to enjoy
Bach, for example, certain level of preparation is needed. Anyway,
one must learn to listen and there’s never too much of learning to
listen.

<>
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hile it could be said that music and musicians know no
borders, it has not always been so. Until the regaining of
independence in 1991 people fled Estonia en masse to
avoid the 2nd World War and its consequences; after the war only
few got away. There are no data on people entering the country:
the ‘iron curtain’ of the Soviet Union made sure of that. Therefore
the foreign musicians have been able to shape our music scene and
culture only during the last decade. Next we will take a closer look
at significant foreign conductors in Estonia.

<>
1BVM
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The Estonian National Symphony Orchestra was the first one

to realize that time has come to make decisions and take respon-
sibility, thus Leo Krämer (1991–1993) from Germany was chosen
as the first chief conductor. A young and fresh Tallinn Chamber
Orchestra, established in 1993, invited Juha Kangas from Finland
to become its artistic director almost right away (1995–1996). The
fruitful collaboration continues also nowadays as he became the
orchestra’s artistic adviser in 2001. A pivotal event in our music life
was the decision of the Estonian National Symphony Orchestra to
sign the contract in 2001 with Nikolay Alexeev from St. Petersburg
to become the chief conductor; the contract has been renewed to
2006. The Estonian Philharmonic Chamber Choir did not wish to
be left behind and thus invited Paul Hillier from England as artistic
director also in 2001; he continues in his job, too. Beginning this
season, the Estonian National Male Choir has also a new artistic
director – Kaspars Putnins from Latvia.
While the musical biographies of Alexeev and Hillier are typi-

<>
cal for talented people coming from great cities, Juha Kangas is a
very untraditional personality; I would venture to say that even as
a conductor he is more of a chamber musician. Certain details in
the life of Juha Kangas as top musician could be compared to the
phenomenon of the Borodin Quartet, the members of which sat
together during their student days and played together for at least
30 years without any changes. Kangas started his music career in
Kaustinen, a Finnish town famous for folk fiddlers’ traditions. Son
of a local organist, Kangas began to study violin at the age of 13 and
made it through the quartet class of legendary Olli Suhonen (world-
renowned conductor Okko Kamu attended the same class) into
viola group of the Helsinki City Orchestra (1966–1971) where he
acquainted himself with the orchestral work and repertoire. From
here on Juha Kangas took charge of his own life and went to work
at the Ostrobothnian Conservatoire in Kokkola, a small town with
population of 36 000, where he established a chamber orchestra
with 10-11 year old pupils. This orchestra grew from pupil, then
student and later amateur orchestra into a professional orchestra in
1989, and is now known as the Ostrobothnian Chamber Orchestra.
Regardless of the fact that Juha Kangas has conducted great sym-
phony orchestras both in Finland and the world’s largest capitals,
he states that he lacks the philosophy of conducting and the only
thing that matters to him is the quality of music. It has been said
about Kangas that he is searching the music for the limits of the
truth: that could be the most precise description. His choice of
repertoire is very clear, it seems as if there are neither quests nor
meanderings. The repertoire contains music from baroque to mod-
ern, in the latter Finnish music had priority, but has now given way
to include Scandinavia and Estonia and Latvia. The meticulously
detailed performances of works by Sibelius, Rautavaara, Nordgren
from Finland; Eller, Pärt and Tüür from Estonia; Vasks from Latvia
– both on stage and recordings have brought Kangas acknowledg-
ment and grand awards in Scandinavia and Finland, also the Latvian
State Award of Music and Heino Eller Music Award of the Year in
Estonia. The collaboration with Juha Kangas has for the Tallinn
Chamber Orchestra been a tough survival course, which by today
has developed into a pleasant dialogue between partners respecting
high professionalism. It is a pity that the dialogue only lasts for 30
days a season.

<>
+VIB
,BOHBT

<>
 The Estonian National Symphony Orchestra (ERSO) has since
1963 been on a standpoint that the chief conductor should be from
the St. Petersburg (Leningrad) school of conductors. The two sea-
sons with Leo Krämer were a small aberration from the chosen way
whereupon the orchestra has walked step in step with conductors
Neeme Järvi (1963–1979), Peeter Lilje (1980–1990), Arvo Volmer
(1993–2001) and now Nikolay Alexeev. The latter became the chief
conductor of the ERSO in 2001 and greatly differs from Juha Kangas
as a person, but they have surprisingly many common beliefs when
it comes to appraising basic values. Alexeev has said: “We must say
‘no’ for million times to hear ‘yes’ once,” and Kangas could have
told the same. Alexeev likes to work with the ERSO, because he is
fascinated by the ability of the orchestra to outdo itself. Kangas, too,
highly values the results brought by work with Estonian musicians.
Both maestros are tight-lipped about themselves; they would rather
discuss music, but prefer to let the music speak for itself.
When accepting the invitation of the ERSO, Alexeev set pub-
lic goals for himself and the orchestra: activation of the sound of
strings through large symphonic compositions; developing and
polishing the ensemble and, last but not least, bringing the audi-
ence into the concert hall. A real professional is the master of his
word. During performances of large works by Brahms, Tchaikovsky,
Mahler, Shostakovich, the orchestra has demonstrated an active, but
not forced, well-balanced sound and the ensemble-building using
the works by Stravinsky has proven successful. What about the audi-
ence? The hall is full and the audience show no signs of boredom,
quite the contrary. It was then unexpected, but rather pleasant to
hear from a man who says one ‘yes’ per million ‘no’s that from
now on he does not need to choose works suitable for the ERSO,
because now he can choose the repertoire to his liking. By the
way, I believe when Alexeev says that he does not read critique on
principle, since he is the harshest judge and knows exactly what he
does well and what not. Alexeev whose entire nature stands against
chatting has said some very significant things. “Music does not need
to be understood but listened”. “Musicians have no nationality, they
have school”. Let these words sound here where we cannot listen
to music he conducts.
I do not know if it is allowed to state this, but I believe that in
Estonia/world relations there has been made a deal with a 20-year

<>
delay: you get Pärt, we get Hillier. At least this can be read into
Paul Hillier’s, the chief conductor of the Estonian Philharmonic
Chamber Choir (EPCC), answer to the question about where did
his interest toward Estonia and Estonian music come from. Direct
reason may have been the activity of Tõnu Kaljuste and high perfor-
mance level of the EPCC, but some initial impulses must be found
and one of them could have been the Estonian origin of Hillier’s
spouse. Though it is true that musicians have no nationality and
musical interests rule. Paul Hillier has said that the decision was
based on the high level and extremely original sonic expression
of the EPCC, which created the necessary motivation and outlook
for future work. As Juha Kangas established the Ostrobothnian
Chamber Orchestra, so Tõnu Kaljuste created the EPCC and
‘raised’ the choir for 20 years (1981–2001). The matured child
was given into worthy hands and Kaljuste could not have made a
better choice. As with prior maestros, also in Paul Hillier’s case the
determining factor was previous contacts with the EPCC, which
were very promising. Hillier does not call himself a specialist in
early music nor is he interested in popular genres, making an excep-
tion for blues as a phenomenon. He grew and developed on music
by Mozart, Schubert, Debussy, Fauré, but also Byrd and Tallis and
has special interest in contemporary music. Hillier has thus spread
the fame of the choir with the performance of modern music and
carried on successful recording activities: the two first CD albums
in the series “Baltic Voices” introducing music from the Baltic Sea
countries made in collaboration with the record company Harmonia
Mundi have been nominated for Grammy in the category of the best
choir recording. Four seasons with the EPCC have brought excit-
ing results to all participants – to the choir, audience and surely the
maestro, too. Hillier has especially high regard for Estonian audi-
ence, since in his opinion the entire country is very musical. There
are plenty of eye-openers for everybody and the joy of mutual dis-
covery will continue at least until 2007.
Estonia has sent great musicians into the world and the world
has reciprocated.

<>
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The piano-playing of Irina Zacharenkova has been characterized as

“a charming synthesis of enormous emotionality and an extremely
sharp mind”. Born in 1976, the pianist has studied at the Georg
Ots Tallinn Music High School with Mare Ots and graduated as
MA from the Estonian Academy of Music in the class of professor
Lilian Semper. At the moment she is in a doctoral programme and
also furthers her studies at the Sibelius Academy in Helsinki with
Hui-Ying Liu-Tawaststjerna. The young pianist has received numer-
ous awards at the international competitions. The list, which started
with national competitions, includes the 2nd prize at the Čiurlionis
competition in Vilnius in 2003, 1st prize at the Premio Jaén compe-
tition in Spain in 2004, 1st prize at the “Remember Enescu” contest
in Romania and 2nd prize ex aequo at the Épinal competition in
France in 2005. Irina Zacharenkova is also an excellent harpsichord
player and knowledgeable performer of pianoforte, predecessor of
the contemporary piano. In 2004, the pianist won the 3rd award
at the Brugge harpsichord and pianoforte competition Musica
Antiqua. Last year she received also the Music Award of the Year of
the Estonian Music Council.

Irina, are you an emotional or intellectual type of pianist?

I’m rather rational.

How did you start your music studies?

<>
*SJOB
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I began to play piano at the age of 4, my mother taught me. She

wasn’t a professional musician; she was self-taught. I was born in
Kaliningrad, but soon we moved to Baltiisk and there I attended a
children’s music school. I was 13 when we moved to Estonia.

Have there been any musicians in your family?

Not that I know of.

Have you always found it interesting to study piano?

As a child I was terribly fond of playing new pieces, but it was
very difficult to practice and repeat what I had learned, in order
to achieve excellent results. When I knew the piece by heart, I got
bored.

<>
You are a very good sight-reader.
I don’t recall ever having problems with it. Since the first grade,
I have always played at sight from all the piano books and collec-
tions, from beginning to end. And I’ve also memorized the pieces
quickly.

Do you remember if during your studies there has been an espe-

cially inspiring piece?
Perhaps the Third Sonata by Chopin during my studies at the Georg
Ots Music High School. I very much wanted to play it in its entirety
and I did, at the national examination. Not so well, but still, I had
a feeling that I could express something while on stage. But now,
looking back, I see I was very lazy at school – I understood too late
that it’s necessary to practice a lot and to do it really thoroughly.

What did you do beside music?

Music had the most important place, but I tried to study other
things as well. I read a lot, as is usual at that age. There was a
period when Nietzsche seemed very impressive, and then I delved
into antique philosophy I could lay my hands on and also read some
newer philosophers, Kierkegaard and others. I can’t say they have
influenced me very much, but it was interesting information.

You didn’t get any straight answers.

I don’t think it’s possible to get those, but I believe there are
moments when every person needs some explanations as to how
the world works. Nowadays I read fiction and recently, Russian
literature.

Beside piano you are also interested in other keyboard instruments,

such as harpsichord and pianoforte – why did you turn to them?
At first it was a simple curiosity, because earlier I didn’t get a chance
to play harpsichord. At the academy I could take it as minor. I
wasn’t attached to it initially, but later it grew on me. From the
beginning, my teacher has been Maris Valk-Falk and the coopera-
tion with her is still very exciting.

What about pianoforte?

<>
 2003 the 2nd prize at the Čiurlionis competition in Vilnius

2004 1st prize at the Premio Jaén competition in Spain and the
3rd award at the Brugge harpsichord and pianoforte competition
Musica Antiqua

2005 1st prize at the “Remember Enescu” contest in Romania

and 2nd prize ex aequo at the Épinal competition in France.

I started to play it at the Sibelius Academy in Helsinki. It’s a very

light, very sensitive instrument and I’m still very interested in it.

Which music do you like to perform?

I feel very close to the classics: Mozart, Haydn, Beethoven. Early
English virginalists such as William Byrd, John Bull and others,
where there is some sort of unspoilt simplicity and beauty. I love
to play Bach, both on piano and harpsichord. By the way, I’m con-
vinced that it’s possible to play Bach beautifully also on piano. The
questions of style remain open, of course, but I don’t think Bach
should be played in a romantic way. For instance, I don’t like at all
the transcriptions of Bach.

At competitions you have received praise for performing modern

music.
Modern music is very exciting. The only difficulty may be locating
the good music from amongst the whole bulk of it. While playing
modern music, the interpreter has much more freedom and courage
to interpret it.

You’ve had very beautiful recitals of Chopin and Schumann. How

do you feel when playing music by romanticists?
I don’t really feel so good while playing Romantic works. There’s
always some uncertainty. Maybe because there exists some kind of
ideal for performing romantic music, some model, and it disturbs.
And I don’t consider myself to be a musician of romantic nature.

Do you have favourites among pianists?

Grigori Sokolov and, for a long time, Ivo Pogorelič. Of course, I

<>
haven’t heard all of their possible performances. Sometimes you
listen and suddenly you dislike some piece and it affects the way you
feel. But it never happens that you like everything.

Lately you’ve been very successful at the competitions. What is it

that makes you stand out?
It’s difficult to say, competitions depend very much on a stroke of
fortune. Perhaps it counts that I’m older, more mature and inde-
pendent. At the last competition in Épinal I heard a significant
and delightful comment – that my play does not lack a masculine
trait. Otherwise I’m used to hearing and also thinking that I have
too little of the trait. And I’ve also been told that I could be more
confident.

What do you wish for in the future?

Above all I would like to play on stage for the audience.

<>
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I
n August 2005 great Estonian composer Veljo Tormis celebrated
his 75th jubilee. On this occasion his ballet/cantata “Eesti bal-
laadid” [Estonian Ballads] was performed once again. Tormis
was commissioned the work in 1980 for Olympic games: the first
performance in Tallinn was on June 27, 1980 and it was performed
by the Estonian Academic Opera and Ballet Theatre as part of the
cultural programme for the Olympic Regatta. The choreographer,
ballet-master and producer was Mai Murdmaa and conductor
Tõnu Kaljuste. There were guest performances in Moscow (1981,
1985), Riga (1983) and Stockholm (1985). At the time the perform-
ers were from the opera, but last year there was created a new ver-
sion, scheduled for premiere in August when in Tallinn transpired
the 4th World Congress of the Finno-Ugric Peoples, and in that
version the performers were chosen amongst the best folk musicians
in Estonia. The following article by Mari Vihmand, younger gen-
eration Estonian composer, was inspired by the new performance,
also given during Tormis’s jubilee summer.

<>
 August 17, 2004. That night, the final destination of hundreds
of people was a former collective farm barn in Soorinna village,
Kuusalu parish. Weeks before, walking around in Tallinn, one could
see everywhere modestly designed, almost selfless posters announc-
ing the Von Krahl Theatre summer play – “Eesti ballaadid”, music
director Tõnu Kaljuste, stage director Peeter Jalakas, choreographer
Aki Suzuki. There were no flashy slogans a la “the best, largest or
bestseller of all times”.
We exit Tallinn via eastern highway, leaving behind the noise; the
Lasnamäe district with its depressing greyness and vastness; desolate
industrial area, inevitable in today’s city and, having finally arrived
in the middle of Kuusalu forests, we are on our way to a wonderful

<>
world, the existence of which we might only intuit, at best. After a
row of signposts we find ourselves driving along the unpaved road
in the middle of a field and we see the venue. The Soorinna barn.
Once inside, at first nondescript white brick building turns out to
be a strange theatre hall with earthen floor. There is a pond on the
stage and whole cabbages are lying around here and there.
Veljo Tormis wrote the ballet/cantata “Eesti ballaadid” in 1980
as a commission from the Estonia Theatre. “I believed the Ballads
to be the summary of my life’s work,” Tormis reminisces. “I was
fifty years old then and thought that after this age one couldn’t
do too much any more.” The then stage director of the work was
Mai Murdmaa and conductor young Tõnu Kaljuste. The show was
outstanding and in addition to Tallinn, it was also performed in
Stockholm, Riga and Moscow.
“Eesti ballaadid” is based on Estonian narrative runic songs
from many areas: “The Daughter’s Fate”, “A Chaste Girl”, “A Girl
in the Wrong”, “The Husband-Killer”, “The Wife of Gold”, “The
Wife-Killer” and “The Wife from the Grave”. The story has been
put together by Lea Tormis and the texts are adapted by folklorist
Ülo Tedre.
Tormis has rightly called the Ballads the summary of his life’s
work. Majority of his works are folk song arrangements, which
actually transcend the genre boundaries. “I do not use the folk song,
it is the folk song that uses me,” Tormis says. “To me folk music is
not a “means of self-expression”, on the contrary, I feel the need to
express the essence of folk music, its spirit, meaning, form. I believe
the runic songs to be the highest achievement and the most original
phenomenon of Estonian culture of all times. But today runic song
has ceased to exist as part of a way of life. To expose the originality
and meaning of runic song, I try to express it through modern art
forms.” Indeed, Tormis does not adapt nor exploit the runic song;
he simply enlivens and magnifies it. His ingenuity lies in the man-
ner he magnifies the runic song and brings it back into our everyday
existence. He is a minimalist due to the material. The runic song
does not allow mixing with the harmony of the European art music.
So there is nothing else to do but to derive the entire soundscape
from what lies within the ancient songs. In “Eesti ballaadid” it is no
longer the case of original folk song arrangements, but rather of a
concise major work, where the folk songs having primal power are

<>
united with symphonic and stage means in order to form a meta-
narrative of Man and Woman, love and hate, sin and repentance,
life, death and reincarnation. Critic Andres Laasik even compares
Tormis’s creation to what Elias Lönnrot1 had done in the sphere of
literature.
The figure of Mother worrying about the fate of her daughters
unites all ballads. Majority of those are female-centred, only in the
last ballad, “The Wife from the Grave”, the mother has to weep for
her son.
After the 1980 Estonia Theatre production was no longer
performed, people forgot about “Eesti ballaadid”. But not Tõnu
Kaljuste, who used to conduct the work and has been for a long
time one of Tormis’s greatest “body musicians”. Kadri Ratt, a singer
participating in 2004 production, has written: “It must have been
six or seven years ago when I and my colleague from the choir Eve
Härma had an extraordinary opportunity to take part in record-
ing CD with works of Veljo Tormis. After the presentation of new
release, conductor Tõnu Kaljuste entrusted us with one small secret
– he soon planned to produce also a grand ballet/cantata by Tormis,
and he offered us to sing a part there. One year passed, two years
passed, and every time we met Kaljuste, he told us excitedly that
recording will start any time now.”
It is well known that good ideas often occur simultaneously and
independently in several minds. In 2003 the Ministry of Culture of
Estonian Republic began preparations for the cultural programme
of the World Congress of the Finno-Ugric Peoples in Tallinn in
August 2004. Mart and Ants Johanson were invited to become the
directors of the programme. The brothers proposed the perfor-
mance of “Eesti ballaadid” and started to look for a conductor and
director. Tormis suggested inviting Kaljuste and together they all
invited Peeter Jalakas to direct.
This time the singing part was left to folk singers instead of
well-schooled opera singers. Kaljuste had also a new idea for the
orchestra. “I have exchanged the sound of classical orchestra for the
forest of music instruments. We will be in that “forest” and perceive
directly Tormis’s comments on ballads,” Kaljuste says. In half a year
he recorded all the instruments and parts one at a time and thus
constructed a virtual orchestra, to which yet more depth is added by
quadro sound in production. In addition to singers and musicians,

<>
it was also necessary to find a suitable place for performance. The
organisers decided in favour of Soorinna barn. It took half a sum-
mer to transform a barn into a theatre hall containing state-of-the-
art technology and under the banner of small alternative theatre the
grandest spectacle of the summer was born. Peeter Jalakas invited
the choreographer Aki Suzuki whose work stems from Japanese
butoh dance and thus she added intrinsic colour to the show.
Actor Juhan Ulfsak said: “We rehearsed for a very long time,
starting with butoh training. The production was born in the course
of purification, of all the material only the most precise parts made
it to the stage.” The result of the long work and jointly shed blood
and tears was a powerful show, which considered and supported
the music on several levels and created strong images, but was still
respectful to the ear, which must be kept alert, no matter what
transpires on the stage.
“The first notes sound and the audience go quiet. It is dark.
Smell of soil. Ghostly clay dolls appear slowly on the stage, arriving
from nowhere, and start their activities. The world has changed; the
time has gone centuries back. But still everything is the same – the
fears of a mother, the fate of daughters, worries, sweat, life, death,
blood. A great swing falls down as if from sky, the air is filled with
the smell of kama2. Mighty Annus is getting married. Due to pas-
sionate performance of intercourse, the actor’s nails are bloody and
painful even the next day. Meeli kills her new husband in temporary
insanity. She despairs, screams, yells and pleads. For eight nights in a
row. Next to her, a small frightening primeval mother (Aki Suzuki)
demonstrates the butoh dance. Her moves are plastic, superhu-
man; her face changes from angelic to monstrous in a second. She
is sweet and gruesome. A woman is drowning her children in the
pond. From under the ground, the dead appear, their bodies clothed
in long hair only, their faces frozen. The pond goes up in flames.
Everything is governed by the angst, blood and fear.
And yet it is all so beautiful. There are sprawling golden fields
in the background and rainbow in the sky. Time and again a small
light comes up, a little glimmer of hope.
In that august, in cooperation between actors, singers, managing
crew, technicians and audience, something magical was born in the
old collective-farm barn Soorinna. The music, at times psychedelic,
which filled the hall with energy streams, induced shudders in the

<>
audience. On the stage, the singers used their musical mother tongue
to send their voices filled with utmost gentleness, power, fragility
and pureness into audience; the actors’ muscles buckled with super-
natural exertion, when their souls were gripped in catharsis” – it is
not possible to describe the trance-like emotion more precisely than
Kadri Ratt has done it.
During following days, one review was outshining the next one,
using superlatives. There was talk about creative triumph, an expe-
rience that cannot be compared with anything within certain time
limit, the theatre that steps outside the boundaries of theatre, the
greatest event of the century, etc. For example, Mele Pesti wrote
following in “Eesti Ekspress”3: “Intensity. Previously unknown
expressiveness (or at least missing from Estonian theatre for a long
time). Unexpectedly painless fusion of surprising expressive means
(wonderful choreography imitating Japanese butoh-dance, Estonian
runic song, technical stage direction) – and the becoming into one,
engrossing entirety.”
I too was hypnotised by “Eesti ballaadid” – the high-tension per-
formance rocked from one sky to another, ever higher and higher.
By empathising with what was happening on the stage one could
forget it was theatre. I nearly stood up and followed the green path
bordered with campfires up the hill – into the future, the past, the
timeless world.
As a similar experience from not so long ago I could only recall
“The Little Match Girl” by Helmut Lachenmann at the Stuttgart
State Opera. Lachenmann and Tormis? Such a comparison is sur-
prising by all means. But after some deliberation it appears that it
is not so unexpected after all. The genre definition of “The Little
Match Girl” is “music with pictures” – another one of those works,
which are not an opera or ballet, cantata or anything else we are
familiar with. It is based on Andersen’s story of a poor girl selling
matches in winter time out on a cold street. She cannot find any
buyers and finally burns all the matches in order to warm herself a
little. In so doing she ruins her only opportunity for escaping the
troublesome situation. It is a tragic and timeless story of people
driven into corner, of a situation where there are no right solutions.
Just like a mother who took her superfluous daughters and left them
as grouses beside the road. Or a chaste girl who killed the man who
assaulted her, thus saving her honour but hurting her soul. All the

<>
stories told in “Eesti ballaadid” are also timeless: time and again
there are murders, time and again someone is hatching an evil plan,
time and again someone desires a controllable puppet for a spouse
instead of a free spirit, time and again we forgo our promises.
The show received many praises for greater adherence to the
original in choice of voices. Nevertheless, I would like to defend
also the earlier operatic version. I am sure that “Eesti ballaadid” has
such a strong musical material that is able to take also the third or
tenth shape.
The often quoted Tormis’s citation that it isn’t he who uses the
folk song but the folk song that uses him raises the question: does
the folk song live on in Tormis or is it waiting for coming com-
posers. Perhaps the greatness of Tormis is a reason why younger
classical music composers have not dared to become attached to
the material. Runic song to an Estonian composer is like a barn
dwelling4 to an architect. If one intends to build a skyscraper in the
style of barn dwelling, the task would seem impossible, but Tormis
has achieved a similar feat and I am certain that “Eesti ballaadid” is
internationally viable regardless of the fact that the text is impos-
sible to translate.
I was especially happy that one of the theatre-makers did not
deem the audience stupid and dared to offer something noncom-
mercial and homegrown instead of yet another “the most successful
musical in the world”. And that the audience received the offering
with open arms. By the way, also Lachenmann’s “The Little Match
Girl” had unexpected success with the audience. All that is really
beautiful also hurts a little. People are still interested in existential
problems despite the brainwashing entertainment. Thank God for
that.
Performance of “Eesti ballaadid” took also place in the summer
2005, celebrating the 75th jubilee of Veljo Tormis.

1 Finnish researcher of folk poetry and linguist (1802–1884), compiler of Finnish

national epic “Kalevala”
2 Estonian food, roasted meal-mixture
3 Estonian weekly newspaper [Estonian Express]
4 Estonian traditional building, combines living quarters and threshing barn under
one roof

<>
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n authoritative opinions, Eduard Tubin (1905–1982) as a sym-
phonic composer has been ranked equal to such 20th century
creators as Carl Nielsen and Dmitri Shostakovich. This is a well-
known fact in Estonia. But how well is Tubin known around the
world and what place do his works have in concert programmes is a
problem that has troubled us for years, or actually – for decades. The
International Eduard Tubin Society (President Neeme Järvi, chairman
of the board Vardo Rumessen) has undertaken the task to ensure the
onset of the time of Tubin. Composer’s jubilee was celebrated this
year in Estonia on the initiative of the society and with the said cause
in mind.
The magnificent celebration of the composer’s jubilee culminated
with the festival “Eduard Tubin and His Time” (artistic director
Vardo Rumessen) organised by the State Concert Institution Eesti
Kontsert where eight symphony orchestras from six different coun-
tries performed all the 10 symphonies by Eduard Tubin. But the
festivities dedicated to the distinguished composer’s jubilee did not
begin nor end with the festival. Long before the jubilee year, the
Estonian National Symphony Orchestra under the baton of Arvo
Volmer had recorded all his symphonic compositions for the record
company Alba Records. The Estonian National Opera had performed
a new production of the opera “Barbara von Tisenhusen” by Tubin
with Arvo Volmer as artistic director. The International Eduard Tubin
Society had started a long-term project, an academic publication of
“Collected Works” of Eduard Tubin and by today there have been pub-
lished the first six books containing his piano works. Klassikaraadio,
the classical music channel of the Estonian Radio, broadcasted 14

<>
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<>
long programmes and concert programmes with comments about
the life and works of the composer. The Estonian Television showed
several materials from Estonia and abroad, which were related to the
composer and the performance of his works. An extraordinary event
was the production of a documentary about Tubin’s life in emigra-
tion, created in co-operation between Exitfilm, Estonian Television
and STV (Sweden), named “The sum of absent days”, written by a
young composer Jüri Reinvere and directed by Marianne Kõrver. A
publication of a grand and luxuriously bound album “Eduard Tubin”
(with a CD album) falls into a similar category, the author once again
Vardo Rumessen, publishers the Estonian Museum of Theatre and
Music and publishing house SE&JS. The Tubin society organised
a competition in performing works by Tubin for young Estonian
interpreters, the prize being the Neeme Järvi Award (50 000 Swedish
crowns) financed by a reputable car manufacturer Volvo. The winner
of 2005 was Marko Martin, a young pianist who has already received
several international awards.
The Estonian Academy of Music celebrated the composer’s jubilee
very respectably, as befitting the academic higher school, by exhibit-
ing a photo show and organising a 2-day scientific conference where
participants ranged next to Estonian Tubin-researchers to musicolo-
gists from Japan, Europe and the US. The International Eduard Tubin
Society founded an Eduard Tubin honorary medal and the unani-
mous decision was made to award the first one to maestro Neeme
Järvi as the world’s most persistent and long-standing performer
of Tubin’s works. A somewhat unprecedented is the monument of
Eduard Tubin as a long-time conductor of the Theatre Vanemuine
opened in Tartu in front of the theatre and created by Aili Vahtrapuu
(sculptor), Veronika Valk (architect) and Louis Dandrel (sound and
light installation, Paris). The monument is so extraordinary in the
Estonian context that it must be experienced with one’s own eyes and
ears (!). Louis Dandrel (1939), the director of the IRCAM [Institute
for Music/Acoustic Research and Coordination] in Paris, has become
world-famous with his installations in Paris (Millennium 2000),
Osaka, Rio de Janeiro, Hong Kong and now also in Tartu.
But the jubilee of Tubin was a great deal not only for Estonians
– already in April there was a memorial concert in the Finnish church
in Stockholm and in June, a musicological conference at the Swedish
Royal Academy of Music. Local orchestras performed Tubin’s works

<>
at the Finlandiatalo in Helsinki, Musikverein hall in Vienna and
Konserthuset in Stockholm. The Estonian Post introduced the jubilee
stamp and envelope, which will probably circulate very widely.
As mentioned before, the jubilation reached its peak between
18 May and 19 June with the symphonic parade at the festival
“Tubin and His Time”. Let us name the conductors who performed
the composer’s works at the festival: Nikolay Alexeev, Olari Elts,
Valeri Gergiev, Neeme Järvi, Paavo Järvi, Kristjan Järvi, Eri Klas,
Jukka-Pekka Saraste, Leif Segerstam and Lauri Sirp. Most of them
provoked the audience by placing symphonies by Tubin next to an
acclaimed work by some of his contemporaries, taking the cue from
the title of the festival. Some bold conductors ventured even further,
for example, Paavo Järvi performed the Fifth Symphony by Tubin
side by side with the Fifth Symphony by Sibelius and Valeri Gergiev
Tubin’s Eighth with the Shostakovich’s Eighth Symphony. The con-
cert by the Mariinsky Theatre Symphony Orchestra with the latter
programme was certainly most successful and it ended with maestro
Gergiev wishing for possibility to acquaint himself with the scores
of all Tubin’s symphonies. In fact, all the symphony orchestras that
took place in the festival had very successful concerts and many of
those ended with people applauding standing – the Estonian National
Symphony Orchestra (Neeme Järvi), Mariinsky Theatre (Valeri
Gergiev), Tonkünstler Orchestra (Kristjan Järvi) and Latvian National
Symphony Orchestra (Olari Elts). The Tampere Philharmonics
(Eri Klas), Stockholm Royal Philharmonic Orchestra (Jukka-Pekka
Saraste) and the Helsinki City Orchestra (Leif Segerstam) also
received infinitely warm welcome. But the title of the festival’s hero
must go to the Estonian National Symphony Orchestra with its three
different programmes (Paavo and Neeme Järvi and Nikolay Alexeev)
and the runner-up is the Theatre Vanemuine Symphony Orchestra
(Lauri Sirp) with two concert programmes. Maestro Arvo Volmer
joined the celebrations in his own modest, but efficient fashion by
conducting his Adelaide Symphony Orchestra on the other side of
the world in performance of a Tubin programme. Eduard Tubin, who
used to speak rather sparingly, had once said: “My time will once
come.” Here in his home country the time has already come and now
it is confirmed that it is so also in the entire world. And at this we
must not forget that the strategic mind and generator of ideas behind
all the above is the pianist and musicologist Vardo Rumessen.

<>
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Since 2002, the Estonian Music Council awards the music prize on
the International Day of Music, giving credit to Estonian musicians
or music institutions whose activities have furthered the develop-
ment of music scene.


Estonian Radio, “Klassikaraadio” – for active coverage of music
life, introduction of Estonian composers and musicians and propa-
gation of Estonian music both in Estonia and abroad.


Erkki-Sven Tüür – composition prize for extraordinary input to
introducing Estonian music culture in the world
Andres Mustonen and early music consort Hortus Musicus – inter-
pretation prize for long-term determined and successful creative
activity
Valter Ojakäär – prize for significant and outstanding activities in
music sphere and for great input to development of Estonian jazz



Helena Tulve – composition prize for outstanding input to Estonian
contemporary music
Irina Zacharenkova – interpretation prize for concerts and success-
ful performance at international competitions
Endel Lippus – prize for significant and outstanding activities in
music sphere and for meritorious work on development of Estonian
music education



Olav Ehala – composition prize for works that unite generations,
tastes and hearts
Arvo Leibur – interpretation prize for input to shaping the sonor-
ity of the Estonian National Symphony Orchestra and outstanding
activities as soloist

<>
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This album contains works by Arvo Pärt, written in his youth in
1959–1966 (Symphonies No 1 & 2, cello concerto “Pro et contra”,
“Perpetuum mobile”, etc.). Pärt using atonality should be a new (or
well forgotten old) discovery to those who are more familiar with
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related to the three Christian Churches present in the Baltic coun-
tries: Protestantism (Nørgård), Catholicism (Sisask, Tulev) and
Orthodox Church (Schnittke). A memorable experience both in the
choice of music as well as performances.

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Estonian composer Raimo Kangro (1949–2001) and consists of
12 character pieces for different instruments and ensembles. This
album contains recordings by NYYD Ensemble and the Estonian
National Symphony Orchestra, both conducted by Olari Elts; the
Tallinn Chamber Orchestra led by Risto Joost, etc.

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music, which is slow and insightful, yet consists of intertwined

<>
restless patterns. His works have strong ties to early music and the
Christian message. The album contains also recordings by early
music vocal ensemble Vox Clamantis.

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composers (H. Kareva, H. Jürisalu, H. Otsa, A. Garšnek). Both
the trumpet player Indrek Vau and pianist Mati Mikalai are highly
regarded musicians.

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German saxophonist Daniel Erdmann and Estonian guitarist Jaak
Sooäär features wittily arranged themes from the suite “Peer Gynt”
by Edvard Grieg.

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The album belongs to the CD series “Eesti kullafond” [The Estonian
Gold Reserve] and is undoubtedly pure gold. Compilation of
the best songs by Alo Mattisen (1961–1996), the lead singer of
the Singing Revolution, composer and keyboard player, includes
“Eestlane olen ja eestlaseks jään” [I Am an Estonian And I Will
Remain an Estonian], “Ei ole üksi ükski maa” [No Country Is
Alone], “Looja naeratuse saatel” [Accompanied by Creator’s Smile],
and many others, performed by ensemble In Spe, Ivo Linna, Henry
Laks and the top Estonian pop musicians.

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Pieces on the third album by one of the most popular rock guitar-
ist in Estonia, Riho Sibul (1958) have philosophical subtext. A
memorable instrumental music (except for the last piece “Kui rinna
peale risti…” [When Across the Chest…]) album both in the way of
composition and well considered tone-colours.

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Pianist and composer Rein Rannap (1953) has been named the
leading eccentric of Estonian music. This is his first album and it
contains his most popular piano pieces: “Laps vaatab tähistaevast”
[A Child Is Looking at the Starry Sky], “Päikeseklaver” [Sun Piano],
etc. There is also one classical hit, “Swan” by Saint-Saëns, which has
the effect of an improvisational fantasia.

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The ensemble Eesti keeled unites such musicians as Jaak Johanson
(song), Riho Sibul (song, acoustic guitar), Jaak Sooäär (electric gui-
tar), Tuule Kann (kanteles, song), Pille Karras (bass kantele) and Ain
Agan (acoustic guitar) performing authentic folk song and progres-
sive pop music. A worthy listening experience to those who love
music, which crosses and mixes the boundaries.

Compiled by Igor Garšnek

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Dissertation on the tonal structure in music of Russian composer
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The book is dedicated to the 70th birthday of choir conductor
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Eduard Tubin (1905–1982), in addition there is a CD with the
composer’s major works.

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Collected stories about Helju Tauk (1930-2005), a legendary pia-
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Overview of the Estonian legendary choir conductor and compos-
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and Estonian. As an addition to the book there is a CD with the
most important works and performances of Gustav Ernesaks.

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Overview of the Estonian organist and composer Hugo Lepnurm
(1914–1999). Book is written both in English and Estonian. As an
addition to the book there is a CD with most important works and
performances of Hugo Lepnurm.

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Compilation dedicated to the 75th birthday of Estonian composer
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er’s thoughts on his life, music and memories.

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suggested by the Estonian Music Council,
attempts at offering internationally significant
information on the current situation of Estonian
music by presenting biographies of important
Estonian musicians: 32 composers, 22 conduc-
tors, 12 singers, 39 instrumentalists and 10 musi-
cologists. www.ene.ee

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Compiled by Kadri Steinbach

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1IPUPT

archive of the Estonian Composers’ Union (pp. 11, 19, 47),
archive of the Estonian National Symphony Orchestra (p. 47),
Heidi Tooming (pp. 3 & 6),
Anne-Malle Hallik (pp. 14, 23, 24, 25, 43),
Marek Vilba (p. 31),
Tõnu Tamm (p. 36)

<>